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Found 9 results

  1. This a separate thread because this doesn't apply only to the DHNRDS, but the general state of the old recordings originally created/mixed down in the 1960s through early 1990's... First, the original 'Harsh digital sound' complaints didn't come from only one cause, as there were at least three reasons (not in the order of impact): 1) Early state of 'digital audio' technology. 2) Unexpected signal detail that was partially covered up by complex dynamics in vinyl production 3) Different final/production mastering for digital media vs. analog media. I believe that items 1 and 2 have been well understood all along, and the relative magnitudes of items 1 and 2 have been discussed for 30+yrs. Item 3 has been underestimated or ignored in the public/consumer arena. This is a real problem, and has varying magnitude depending on the exact difference. I dont' know enough about the final mastering (I am not speaking of mixing the material, I am writing here about the two track stereo being prepared for distribution), to know all of the steps, but there are some deviations between the handling of digital vs. analog material. --- This discussion is not solely intended to shill for the DHNRDS -- that is NOT the goal here, but maybe to explain why the 'love' for vinyl and other analog media had been sparked and even sustained for so long. There are definitely recordings which cannot sound as good as they should, some are simply NOT available in their natural form. Instead, some material is still mostly available in the 'harsh digital' form unless on vinyl or properly mastered tape. For an example of the 'natural' Carpenters sound -- refer to the link below -- it must be removed in a few days, but it is here for illustrative purposes. TRY to find a natural sounding Carpenters distribution... You might have problems doing so -- unless you have vinyl or a VERY VERY special digital copy. Even the Carpenters 'singles' on HDtracks is NOT DolbyA decoded!!! It does NOT have the natural sound. (I haven't been able to 100% accurately decode the Carpenters until recently, only possible once I found the correct inverse equalization...) I APOLOGIZE FOR THE MP3s -- believe me, they are better than any normal digital release of the same material!!!! www.dropbox.com/sh/g7bye8uii2ashq1/AACyGhV4R5FYZXDFlAz3HNFoa?dl=0 --- I have listened to a LOT of CDs made from older recordings, both CDs mastered/produced in the early days of digital, and CDs/digital produced more recently, and it is extremely clear to me that the differences can be enumerated as below: 1) No DolbyA decoding, substituted by EQ 2) No DolbyA decoding, not substituted by EQ 3) Additional manipulation, incl compression. In recent years, becoming much more prominent starting in the middle 1990s, and even more egregious in the 2000's and beyond, dynamic range has been deemphasized as a desirable trait, and loudness seems more important to the distributors. This dynamic range matter is well understood, and even some of the motivations for decreased dynamic range are understood -- it is the other items that I am writing about here. Actually, this missing step of DolbyA decoding, and the oassociated decrease in high frequency dynamic range MIGHT have been a contributing factor to the current 'loudness wars' and the consumer toleration for decreased dynamic range! --- Here is the scenario that has happened REPEATEDLY in the past: DolbyA Recording -> EQ -> distribution to consumer Instead, the following should have happened: DolbyA Recording -> DolbyA decode -> distribution to consumer One my ask: Why did this happen? I have no firsthand knowledge, but just existance proof. It has taken some time to collect the information, but there might be several causes: 1) Material already in digital form, archived by LOC (Library of Congres) procedures that make NR decoding before archiving an optional step. 2) Insufficient metadata/documentation and/or missing calibration tones making the decoding effort inconvenient. 3) Time/cost of realtime limited for HW DolbyA decoding, much slower & inconvenient than copying digial files directly. When looking at these items above, and the fact that distribution moves a commodity around, ti is not an artistic endeavor from the standpoint of the business people, I'd suspect that there is sometimes an explicit financial decision to do EQ to attempt to hide the DolbyA encoding instead of the actual decoding operation itself. EQ can be done digitally fast, while decoding actually takes 1:1 time on recording vs. time to decode. Mentioning the details of the problem again: when the mastering was done by the distributor, instead of DolbyA decoding, they did an EQ operation like this: Recording -> EQ -> distribute instead of Recording -> DolbyA decode -> distribute... So, what the remastering does is this: distribution copy -> inverse EQ -> DolbyA decode -> 'better sound results' The problem is that the original EQ isn't documented, and also the ongoing problem was that I didn't realize how precise the EQ needed to be... ---- What is my goal here -- mostly to do what I can do to resurrect the old recordings. These recordings are important to history and will NOT be heard correctly unless correctly and accurately processed.... John
  2. I was browsing Linkwitz's website and came across this loudspeaker distortion listening test: Welcome to the Listening Test! Listening tests are conducted to assess the loudspeaker performance by investigating the influence of the stimulus, the linear and nonlinear driver parameters, the enclosure type and other characteristics on the audibility of distortion and the impact on overall sound quality. The participants listen to two samples - a distorted and an undistorted signal – and have to decide, which of the samples is the distorted. This is a double blind forced A/B test where the participant has to make a decision even if he perceives no difference. The audibility of a signal is determined by varying systematically the signal to find the threshold, where the signal is just perceived. The signal starts at high amplitude, each correct response leads to a decrease of the signal level by one step size (e.g. 2 dB) and each incorrect response to an increase of the signal by 3 times the step size (e.g. 6 dB). http://www.klippel.de/listeningtest/lt/
  3. New here, hoping for some advice. I'm having a problem that I think may be rooted with my PC but I'm not 100%. It's driving me nuts and any help would be greatly appreciated. I feel like playback out of my PC is clipping with certain higher frequencies, where for a while I thought the tweeters or x-overs in my speakers might have been on their way out but I don't seem to have the same problem with analog playback. It seems to happen with all file types, regardless of whether they're MP3, FLAC, and sample rate doesn't seem to make a difference, either. It also seems to be there through both the onboard output as well as with an AQ Dragonfly Black, and regardless of the USB port it's plugged into. I hear it more in the left channel, but it happens in both (though swapping L/R on the RCAs does make it more prominent on the right side). My primary player is Winamp, but I also tried Foobar and it's still happening which is making me think it's either how Windows is handling output buffering rather than hardware, or it's some sort of electrical interference within the PC. Would some sort of filter (like a Jitterbug or Wyrd) be worth trying? My whole library has been run through Replaygain so I don't think it's a matter of the files themselves clipping, and again it doesn't seem to be happening with vinyl playback. Things I haven't tried: different minijack to RCA cable (generic monoprice), seeking out some weird room resonance Again, any help would be appreciated. System is an older custom built PC, MSI board, AMD Phenom X4 CPU, 8gb ram, AQ Dragonfly 1.5 Classe CAP-151 integrated Wharfedale Evo2-10 speakers REL T5 run off the speakon cable if that matters
  4. I have a home-built PC music server that has been wonderful to listen to. Just recently I got new SATA cables and used 3m AB5030 EMI/RFI to shield the cables and some of the chips on the motherboard. When I start listening to music it sounds fantastic, but after 30-60 seconds it starts exhibiting major distortion and, get this, the music drops a half to full step in pitch. I've never experienced a change in pitch in the digital domain before. For background, I am using the following: Intel Celeron G1620 cpu with Integrated HD Graphics (so I don't have to use a video card) MSI B75MA-E33 (Military Class III with solid caps) LGA 1155 MicroATX motherboard Patriot Viper 3 DDR3 1600mhz 4gb (1 stick - I can add another if I need to) Seasonic S12II SS-330GB 330w ATX 80 PLUS Certified PSU Kingston SSDNow 200 64gb 2.5" SATAIII solid-state drive 2 Hitachi hard drives with a lot of music (and room for more of it) one 3tb and one 2tb. An Anker Astro E4 13000mAh Portable Battery pack to power the SSD drive ASUS Xonar DS PCI soundcard with upgraded opamps Microsoft Server 2012 None of the equipment other than the SATA cables has changed. _______________ What could be the cause of the increasing distortion and change of pitch? Peter BTW. I really appreciate all the good articles and advice I've gleaned from this website.
  5. "The Distortion of Sound is an eye-opening exposé of the current state of sound starring Linkin Park, Slash, Quincy Jones and more. This documentary will open your ears and inspire you to reach for richer, more soul-stirring musical experiences." [video=youtube_share;mDZcz-V29_M]
  6. Ive got a new imac (mid 2011), when I run via USB>Interface>amp>speakers theres a fuzz distortion when i use ANY app (itunes, garageband, guitar pro)...Ive eliminated all possible problems by changing to my macbook pro--NO Problem, so that eliminates it being any of the components other than my new mac. i've read in other threads that this could be a common 'bug', or driver issue. has anyone else experienced distortion via USB and how did you fix this issue.....Its Vomit to my ears!!!
  7. What is your preferred sound signature? Now, I'm going out on a limb, because sound is so difficult to describe. I hope everybody keeps in mind, that we are talking about preferences and not right and wrong. I am personally almost allergic to: - Perfume - Distortion - Boomy sound That doesn't necessarily make it bad, just bad and overloading for my senses. Multiple Choice - Tick as many as you like! This is an open poll. Your votes will be visible!
  8. My setup works great for a few albums, then (always at the beginning of a new album) a crackling noise appears during playback. System: MacPro, Lynx AES16e, and Alpha DAC. After having a system crash a few weeks ago, I upgraded to IOS 10.10.1, iTunes12.0.1.26, and Amarra 3.0.3. Also upgraded to latest Lynx firmware. Any help with this is greatly appreciated. Thanks
  9. Something I've noticed while streaming Tidal on my Windows 10 PC is clipping and distortion. I'm currently using Peter's Equalizer APO (Peace). With a flat EQ or with EQ turned off, I get clipping. I decided to test Spotify and levels never reach clipping. Current setup: Windows 10 vol 100% => Tidal app vol 100% => Schiit Jotunheim w/DAC module => Headphones Taking the software vol control in Tidal down a bit does stop the clipping, but I figured that should be maxed out given my setup. Spotify has it's vol control maxed with no issues. Any thoughts?
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